Partitas

Céline Frisch returns to Bach like someone returning home after a space voyage: with respect, but also with the coolness typical of someone who has already seen infinity and is no longer moved by a sunset.
Partitas are one of the riskiest territories for a harpsichordist: too much zeal and you sound like an archaeologist dusting off a masterpiece; too much heart, and you descend into baroque kitsch.
Frisch, as always, chooses the third option: absolute control.

Every phrase is lucid, ... read more